The music page will open in a new window. There is the option of clicking on individual songs or clicking the Jukebox link. If you choose the Jukebox link then the page can be minimized while you continue surfing:

A world map published by the National Geographic Society has this notation: Earths mass is 6.6 sextillion tons. And what supports all that weight? Nothing. The planet we inhabit spins on its axis at 1,000 miles per hour as it hurtles through space in its orbit around the sun. But its easy for that to remain unnoticed in the midst of our daily concerns about health, relationships, and how to pay the bills.

The Old Testament character Job repeatedly considered Gods creation in his struggle to make sense of the numbing loss of his health, his wealth, and his children. [God] stretches out the north over empty space, Job said. He hangs the earth on nothing (Job 26:7). Job marveled at the clouds that did not break under the heavy water inside them (v.8) and the horizon at the boundary of light and darkness (v.10), but called them the mere edges of His ways (v.14).

Creation itself did not answer Jobs questions, but the heavens and the earth pointed him to God the Creator, who alone could respond with help and hope.

The Lord who upholds the universe by the word of His power (Heb. 1:3; Col. 1:17) is in control of our everyday lives. Experiences that seem empty places are all undergirded by our heavenly Fathers power and love.

Dear Lord, we praise You for Your infinite power.You created the world out of nothing and upholdit by Your word. Help me to remember that Youare also in control of every part of my life.

When we reflect on the power of Gods creation, we see the power of His care for us.

To every service man or woman reading this thread.Thank You for your service to our country.No matter where you are stationed, No matter what your job descriptionKnow that we are are proud of each and everyone of you.To our military readers, we remain steadfast in keeping the Canteen doors open.

The FR Canteen is Free Republic's longest running daily thread specifically designed to provide entertainment and moral support for the military.The doors have been open since Oct 7 2001, the day of the start of the war in Afghanistan.

We are indebted to you for your sacrifices for our Freedom.

NOTE: CANTEEN MUSICPosted daily and on the Music Thread for the enjoyment of our troops and visitors.

25
posted on 06/21/2013 6:30:34 PM PDT
by Kathy in Alaska
((~RIP Brian...the Coast Guard lost a good one.~))

The clan is fine! Maddi is pulling herself up and trying to stand & walk. On Flag Day she had her 1st Birthday. She just loves going to the city Children's pool every Saturday morning. A little Mermaid she is.

Nate is a real handful in Glendale and loves the playground at the park.

I may finally get some rest this weekend as I think everything is done to close on the sale of Dad's house.

To: AZamericonnie; ConorMacNessa; Kathy in Alaska; MS.BEHAVIN; LUV W; left that other site

Its that time of year again, when my thoughts turn to my first love, classical music. Its time for the Seattle Chamber Music Festival! Next week we begin our first concert on Saturday, June 29. Thanks to the miracle of the Internet, you can hear the concerts live at the website of KING-FM. Ill be providing programs and links to the concerts through the summer festival.

If you have occasion to attend one of these concerts live, theyre held at the Illsley Ball Nordstrom Recital Hall, which is upstairs at Benaroya Hall at the corner of Third Avenue and Union Street in downtown Seattle. Theres a bus and light rail station (University Street) just under the hall. The secret of the acoustics is to sit either in the very front or the very back. In the middle, the piano sounds clangy, and the balance between instruments is sometimes lost. People would see where I sat and say, Well, if old Pubbies sitting there, thats the place to be. For that reason, veteran ticket holders now reserve their seats all the way in the back.

Now that Jimmy Ehnes is Artistic Director, were getting a lot of music weve never heard, which is a joy for me. I love the old chamber warhorses, but there are a lot of pieces that dont get heard very often that are gems. As we approach each concert, Ill introduce one piece per evening at the Canteen with commentary about the piece. On concert nights, Ill introduce the musicians.

Tonight Ill take you through the opening piece for next Saturday, the third of Beethovens Opus 1 trios for piano, violin and cello. Beethoven had written a lot of pieces in his teens and early Twenties that he didnt publish. He was a good judge of quality, and he waited until he was 25 to publish his first pieces.

The older Haydn was Beethovens teacher, and he loved the first two trios of the set. Haydn had pretty much invented the form, and in his trios the cello tends to double the piano part. Beethoven wrote an independent cello part in the style of Mozart, which is why cellists love playing his1 trios.

But Haydn had reservations about the third trio. It was too brash, too brusque, too abrasive  too Beethovenish. It was the sound of the future, Romantic rather than Classical, and it threw quite a scare into old Papa Haydn.

It starts with a sonata movement marked allegro con brio. Mozart had used this direction only once, and Haydn only a few times. Beethoven was to use it a lot. For those of you who survived my Brahms series last year, youll remember sonata format as being 1-2-1-2-development-1-2-coda.

Beethoven starts out with the instruments playing in unison in C minor, his death key. Note that Beethoven doesnt use the kind of long, singing lines that Mozart and Schubert were fond of. He prefers instead to use shorter units of melody; he thinks instrumentally, rather than vocally. At 1:10 he slides into the second subject, which is in the relative major key, E-flat. (C minor are E-flat Major both have three flats.) At 2:35 he repeats the exposition. At 5:07, its development time! He quotes the opening fragment, but takes off into the kind of struggle that defines a Beethoven development. Keys come and go, creating a wonderful kind of instability. But he settles into C minor again at 6:30 for his recapitulation, but only briefly enough for the cello to take up the theme in C Major, a technique beloved of Mozart. The violin moves the theme to A-flat Major. Its clear that Beethoven is re-composing his recapitulation. As he cadences in C minor at 7:19, you would expect the second subject in the recap to be in C Major, the corresponding major. (Corresponding minors and majors share the same letter.) But Beethoven pulls off a surprise by placing the second subject in C minor! In effect, in the recap he reverses the role of the major and minor keys. At 8:15 he begins his coda by reworking his first subject, ending it quickly with no long held notes. Haydn was shocked at the brusqueness.

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